Research Catalogue

The Varder are a system of marine navigational aids along the Norwegian coast originating from the age of sail. Officially still part of the oldest maritime navigational system still in use, these forms now act as anchors to a physical present. In a digital society losing its patience, the Varder stand in contrast to the accelerations surrounding them: analogue, material, and static.

In the scope of my PhD-in-Art project “Staging the Invisible Elephant that Remains Overlooked”, I investigate collaborative and co-creative work with children as equal partners – from my perspectives as an artist, workshop leader, teacher, aunt, recent mother, and adult friend. The intersections, tensions, and synergies between artistic research and pedagogical practice form the core of my research. Spanning 2017–2025 the work unfolds as an open, reflective process grounded in project-based artistic practice, dialogical encounters, and reflective writing. Additionally, reading experiences in different literary and scientific fields serve as resonant spaces in which insights take shape and intensify. Recurring themes include the interplay of structure and freedom; the negotiation of shared authorship, responsibility, re­presentation and ethics in co-creative work with children across different contexts; and the possibilities and limi­tations of conducting artistic research “at eye level” within school environments. I also examine the potentials that artistic approaches offer in addressing contemporary pedagogical challenges related to digital technologies, social media, and artificial intelligence. In accordance with the principles of artistic research, I understand ambiguity, contradiction, and subjectivity as methodological strengths. I foreground transparency, vulnerability, and the transformative potential of misunderstanding, and I propose ways in which we might relate to one another differently in a complex world and strengthen democracies at risk.

a lesson in the shadows of death entangled moment of frozen fragments embodying sacred movements through air, body, mind, mattering, voicing as if NOTHING

The subjective experience of time pressure in today’s efficiency- and performance-oriented society is fuelled by a paradox: acceleration is omnipresent due to economic and technological demands, while at the same time complexity and self-responsibility require more time for decisions. This exposition examines individual and institutional ways of dealing with discrepant time demands. Where and how do different age groups experience divergent time regimes that occur simultaneously? Which techniques do individuals and institutions use or invent to synchronize different time perceptions, rhythms, and activities? How can artistic research create asynchronicity and make it experienceable through filmic means? And, finally, to what extent can filmic thinking produce ways of knowing that convey (as yet) unverbalized perceptions of time? Methodologically, this research combines analytical and artistic approaches in an essayistic procedure comprising cinematic practice and writing. On the one hand, it explores different aspects of divergent perceptions of time in a series of case studies under the leitmotif of “asynchronous determinations of time.” Situated in both immaterial and care work, in which bodily and affective temporalities are highly important, these empirical investigations consider the role of lifetime (age, biography, memory) and temporal modes (tempos; imperatives, indicatives, subjunctives). On the other hand, this study develops specific artistic procedures for focusing perception by means of narration, fragmentation, montage, visual and linguistic interventions, extractions and interweavings. Since simultaneous non-simultaneities (tend to) overwhelm subjective experience, the procedures adopted in this research contribute to new forms of filmic thinking and images of thought. They should be understood as an incentive to empathize with different understandings of time.

It Is Indeed a Dance is a project exploring the emotional, psychological, and cultural shifts within contemporary romantic discourse. Using the metaphor of dance as a dynamic, often asymmetrical interplay between self and other, the project investigates love and post-love conditions marked by ambivalence, hyper-awareness, and emotional fatigue. Drawing on concepts such as limerence, attachment theory, fantasy bonding, and “situationships,” it examines how psychological language has entered everyday dating vocabulary—shaping not only how we talk about love, but how we experience it. Through autotheoretical writing, visual media and spatial compositions, the project seeks to map and mediate intimate dynamics in an era where connection feels both over-analyzed and elusive. It reflects on the contradictions of contemporary intimacy, where vulnerability is praised but rarely safe, and communication is vital yet often ineffective in post-romantic conditions.

The Arrangement of Objects examines the intersection of functionality, aesthetics, and artistic practice through experiments with glass and metal. Central to the project is the notion of burden, understood both physically, as pressure or weight, and metaphorically, as imprint, deformation, or trace. This theme is expressed in layers, grooves, and perforations that evoke landscapes or the life cycles of objects. The work situates itself between design and fine art, emphasizing material research as a driver of innovation and interdisciplinarity. It also highlights the role of conceptual thinking and autoethnographic reflection, integrating personal experience into the creative process. Through layering and transformation, the project questions the porous boundary between utilitarian and artistic objects while expanding the expressive vocabulary of glass and metal.